scholarly journals Reproduction, Inequality, and Technology: The Face of Global Reproductive Health Ethics in the Twenty-First Century

2018 ◽  
Vol 20 (3) ◽  
pp. 224-227
Keyword(s):  
Reproductive Health ◽  
First Century ◽  
Health Ethics ◽  
The Face ◽  
Twenty First Century

Introduction

2020 ◽  
pp. 1-14
Author(s):  
Linda Steiner
Keyword(s):  
Decision Making ◽  
News Coverage ◽  
First Century ◽  
Sources Of Information ◽  
The Face ◽  
Twenty First Century ◽  
Unknown Case

The introduction explains the crucial significance and “agency” of various media to the debates over the vote and to suffragists and antisuffragists, arguing that print newspapers and magazines are not merely sources of information about the movement, although this is largely how news coverage has been treated by historians and rhetorical scholars. The introduction uses a relatively unknown case of a Missouri suffrage paper to exemplify suffragist experiences, illustrating both their strategic creativity in the face of money problems and their decision making regarding when to abandon their suffrage organ. Then, a twenty-first-century website named for one of the earliest suffrage periodicals is used to show the contemporary postfeminist depoliticization of suffrage politics. In the end, suffragists’ flexibility and adaptability, their willingness to experiment, and their openness to working with an array of reform-minded partners were probably all crucial to their eventual victory.

Trado-Modern Religious Ideology Conflict in Nigerian Films

2018 ◽  
pp. 139-148
Author(s):  
Jovi Chris Okpodu
Keyword(s):  
First Century ◽  
Traditional Religion ◽  
Religious Ideology ◽  
Cultural Life ◽  
Values And Beliefs ◽  
The Face ◽  
Western Religion ◽  
Twenty First Century ◽  
Nigerian Film ◽  
Ways Of Life

The concept of traditional religion in the twenty-first century is that which seeks regurgitation. This is so because traditional religion and its values and beliefs are constantly being challenged in the face of Western religion and its values. This chapter is on the contemporary Nigerian movie Scorpion God as directed by Nonso Okonkwo, and its interpretation and presentation of concepts relating to Nigeria's traditional religion. This study takes a look at traditional religion, the patterns, symbols, and values that have remained relevant till date. It examines the theories and ideologies influencing these ways of life in order to correct the errors presented in this Nigerian film. The study reveals that traditional religion as reflected by Nigerian films is a misinterpretation and misrepresentation, and the findings suggest an urgent need for education in order to correct this error in the evaluation to traditional religion and its place in the socio-cultural life of Nigeria.

Twentieth- and Twenty-First-Century Apocalyptic Trajectories

2020 ◽  
pp. 217-270
Author(s):  
Christopher James Blythe
Keyword(s):  
Twentieth Century ◽  
Church Leaders ◽  
First Century ◽  
Latter Day Saints ◽  
The Face ◽  
Twenty First Century ◽  
Final Group

This chapter documents the fracturing of end-of-world belief among Latter-day Saints in the twentieth century. Church leaders re-envisioned apocalypticism as a “moderate millenarianism.” At the same time, Mormon fundamentalists—deemed heretics by many church leaders—deployed apocalypticism to challenge the processes of Americanization, adding the church’s own apostasy as a distinctive part of their last days chronology. Finally, radical apocalypticism continued to find resonance with a contingent of committed Latter-day Saints. This chapter wrestles with how this final group has been able to negotiate their apocalyptic sentiments and LDS affiliation even in the face of continual criticism. Most importantly, it is in this chapter that the author demonstrates how apocalyptic ideas of any variety continued to be perpetuated in private and family circles.

Indie Reframed

2016 ◽  
Keyword(s):  
Case Studies ◽  
White Male ◽  
First Century ◽  
Independent Cinema ◽  
Production And Distribution ◽  
The Face ◽  
Twenty First Century ◽  
The Difference ◽  
Female Filmmakers

With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).

Between Ontological Transformation and the Imagination of Tradition: Girls’ Puberty Rituals in Twenty-first Century Botswana

2014 ◽  
Vol 44 (3-4) ◽  
pp. 355-385
Author(s):  
Pnina Werbner
Keyword(s):  
Moral Agency ◽  
First Century ◽  
Cultural Authenticity ◽  
Modern Times ◽  
Tribal Identity ◽  
The Face ◽  
Twenty First Century

The paper contrasts Tswapong puberty ritual, themothei, conceived of as effecting an ontological change in being and personhood, with the newly invented Kgatla puberty ritual. The latter, it is argued, while reflecting authority and embracing a collective tribal identity, lacks the ordeals of death and rebirth inherent in themotheiritual. I propose that rituals may lose aspects of their ontological inscription of gendered personhood and subjectivity while assuming new political or policy-related functions. The paradox highlighted is that despite endowing girls with ‘dignity’ and moral agency within a ‘society of women’, Tswapong girls are increasingly refusing to be initiated in the face of ‘modern times’, backed by teachers who regard the ritual as archaic, while concurrently southern Tswana Kgatla are enthusiastically mobilising mass girls’ initiations under the supervision of Kgatla royals with political agendas. My paper reflects on these apparent paradoxes of cultural authenticity as rituals change, hybridise, and are reinvented.

Digital cultures and climate change: ‘Here and now’

2020 ◽  
Vol 1 (1) ◽  
pp. 21-25 ◽  
Author(s):  
Maxwell Boykoff
Keyword(s):  
Climate Change ◽  
First Century ◽  
Changing Climate ◽  
The Face ◽  
Twenty First Century ◽  
Digital Cultures

We are living through momentous times as we confront issues surrounding digital cultures and communications about climate change. There is urgency derived from our recognition that climate change is ‘here and now’. Inequalities of power and access – in both digital cultures and in a changing climate – disadvantage individuals and communities who seek to take actions in the face of climate threats. Via digital cultures, creativity is expanding rather than retracting from the challenge of meeting people where they are on climate change in the twenty-first century. Amid signs of progress and hope, there is much more work to be done.

The Chocolates of Sucre: Stories of a Bolivian Industry

2002 ◽  
Vol 3 (2) ◽  
pp. 209-246
Author(s):  
Robyn Eversole
Keyword(s):  
Industrial Development ◽  
First Century ◽  
Small Scale ◽  
Chocolate Industry ◽  
The Face ◽  
History Of ◽  
Twenty First Century ◽  
Shed Light

Chocolate is a Sucre trademark, one of the few products that this Bolivian city regularly markets to other parts of the country. Despite Sucre's long history of chocolate production, however, the city's chocolate industry at the turn of the twenty-first century remains small, unable to export, and generally uncompetitive with products from neighboring countries. Yet Sucre's chocolate-making enterprises have not disappeared; they continue to produce on a small scale in the face of mass-produced, imported brands. In this article, the history of Sucre's chocolate industry is examined to shed light on larger issues of industrial development and “underdevelopment” in Sucre and on the roots of the city's strong artisan identity.

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